論巴布•狄倫〈荒蕪街區〉中的民謠形式、民俗歷史、及立體派拼貼手法

Ballad Form, Folk History, and Cubist Collage in Bob Dylan’s “Desolation Row”

本文主張諾貝爾文學獎得主巴布‧狄倫的歌曲〈荒蕪街區〉可被視為立體派拼貼民謠（cubist collage ballad），不僅以其多元混雜性連結到美國的民謠傳統，描繪民謠的起源與神話，進一步開展此傳統的主題範疇，同時也在結構上再現出個人層面與國族層面的合諧與分裂之處。首先本文檢視民謠的形式和歷史，再對〈荒蕪街區〉進行韻律分析，以證明它確實符合民謠的定義。而後，我分析〈荒蕪街區〉的押韻格式和歌曲裡重音所強調的字詞，以闡明歌曲中的詩意細節。最後，我透過與立體派藝術的比較，探討此曲破碎結構的詩意範圍。藉由立體主義的觀點，我分析狄倫所營造的破碎結構及歌曲的負空間中（即為這首曲子中忽略細節之處）亦有詩學的隱藏意涵。此論文主張狄倫在〈荒蕪街區〉中採用民謠形式，使此曲援引並重塑美國民謠傳統和民間傳說的廣泛神話。

This essay argues that the song “Desolation Row,” found on the album Highway 61Revisited by Nobel Prize winner Bob Dylan, is a cubist collage ballad which utilizesits hybridity to link itself to the folk tradition and depicts that tradition’s formationand mythology. Moreover, the song modifies the folk genre to expand its thematicscope as well as to structurally represent unity and fragmentation on both an individualand national level. The essay’s primary area of scrutiny is the structure of the song,and ancillary lyrical analysis is conducted when necessary. The argument is executedby first performing a preliminary examination of the form and history of the balladbefore recording the entire scansion of “Desolation Row” to prove that it is a ballad.An analysis of the song’s rhyme scheme and stresses is then undertaken to illuminatethe poetic details contained within the song’s form. Finally, the poetic scope of thesong’s fragmentary structure is explored via its comparison to cubist art. The poeticimplications created within the song’s negative spaces—that is to say, where the songneglects details—as well as Dylan’s masterful use of structural fragmentation are exploredthroughout the essay’s cubist reading. Dylan’s use of the ballad in “DesolationRow,” the essay argues, allows the song both to allude to and to modify the Americanfolk tradition and the broad mythos of American folklore.